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Friday, July 7

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Promotions at American Ballet Theatre.

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Sarah Lane, Christine Shevchenko and Devon Teuscher — have been promoted to the rank of principal dancer at American Ballet Theater, the company announced on Friday.

 

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American Ballet Theatre just announced its much-anticipated promotions, and artistic director Kevin McKenzie couldn't have picked more deserving dancers. Soloists Sarah Lane, Christine Shevchenko and Devon Teuscher have been promoted to principal, and Calvin Royal III has been promoted to soloist.

 

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A review of New York City Ballet by Geraldine Freedman for The Daily Gazette.

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On Thursday, four of George Balanchine’s vintage ballets got fabulous performances. The elegant, musical Tiler Peck and Andrew Veyette led eight dancers in a joyously light dialogue in “Allegro Brillante” (1954) with the excellent Susan Walters at the piano. Daniel Capps, who conducted all the ballets, led a brilliant orchestra. Peck especially seemed to imbue the spirit of Tchaikovsky’s sunny music. The couple’s final lift to exit was spectacularly dramatic. They got four curtain calls.

 

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Another wave of departures at Bavarian State Ballet.

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[Igor] Zelensky declined an interview on this matter, communicating through his press office that two days before going into the summer break he would have no time. A few days ago he drew up a balance on his first season with the German Press Agency (Deutsche Presseagentur dpa) though including some comments on the personnel changes within the company. Those were echoed in the German press (see links below). Zelensky said, “Some [dancers] leave, some I fired. I wanted more quality according to my taste – those are no bad dancers, but I have my vision of what I want to do in the future. […] It’s a huge drama, 18 of 69 are really many. It will take much time to bind all together anew.”* In an interview with the German Press Agency this spring Zelensky had envisioned a larger ensemble, four new productions per season and more than 74 performances. Where will he now draw the resources – the dancers – from?

 

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The Mignon Furman Ballet makes its debut.

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This initial program was, with one exception, “An Evening of Pas de Deux”. The repertory was predominantly traditional –  five classical or romantic works from the 19th Century and just one item from the 20th Century that did look neo-classical i.e., sharper in phrasing and more streamlined. Serving as ballet master for the occasion was the well-known ABT soloist, Craig Salstein. Likely it was his coaching, and not just the steps, that kept things stylistically distinct. Also, the order of presentation, which emphasized contrasts, probably was Salstein’s choice.
 

 

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